Returning home from the Balkans during the 1930s, Iris Carr boards a train. After a blow to the head Iris, is befriended by a Miss Froy - former governess to a family headed by a baroness travelling with her poorly sister and medical staff. When Miss Froy disappears everybody denies ever seeing her,claiming Iris mustve imagined Miss Froy, after the knock to the head. Only language student Max Hare is sympathetic and even he has doubts. When a German woman is produced and passed off as the missing lady, Max unwittingly becomes part of the plot to dissuade Iris from her search for the truth. Written by
don @ minifie-1
My God this was so awful, I barely know where to start!..This was a period piece, and yet some of the dialogue was pure 21st century 'smart-speak'. People did not feel 'empathy' in pre-war Britain (and would certainly never had admitted feeling such to strangers if they had). The scriptwriters seem to have forgotten the separate meanings and contextual uses of 'will' and 'shall', and the accents were Estuarine in the extreme. There was far too much breathless 'gushing' by our heroine (who ever thought to cast Middleton in this role anyway?.. She hasn't the screen presence nor the ability to convey any sort of emotion other than a rather hollow & supercilious haughtiness), and Tom Hughes (Max Hare) simply carried on where he left off in 'Dancing on the Edge'...The only characters with any sort of screen credulity were the Reverend and his wife, and even they had to be given a paper-thin sideplot to flesh out their presence...Rhind-Tutt was completely wasted, and even Stephanie Cole's attempts at caustic wit were cheap and shallow...Where was the menacing threat of Hitchcock's original?..The whole thing reeked of hurried, seedy amateurism...I thought the 1979 remake with Gould and Shepherd was bad, but even that production had some saving graces (remember Arthur Lowe & Ian Carmichael as the two cricket-mad Englishmen). The main question is why bother making it at all?.. A shabby remake, poorly thrown together, with a second-no, make that a third-rate cast.
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